while I’m on the subject of clarinet quintets,since there are so few significant ones, let me pull Brahms’ out of my hat and celebrate it, a worthy challenge to Mozart’s own uttermasterpiece

but over a century has gone by, it’s 1891, Beethoven, the French Revolution, the Romantic Era is reaching its end, ceding to Impressionism, after the disruptions of rampant industrialization, and its consequent effects on the social contract

Marx has proposed a theoretical master plan to equitably protect the rest of us from the 1%, however too politically fraught, eventually,such a system – seeCommunism

furthermore,Darwin had suggested that we weren’t all descended from Adam and Eve, but from larvae, which is to say, millennially morphed, modified, throughtime, genetically, leading to festering still ideological objections

you’ll note the clarinet is not sittingcentre stage, but has nevertheless a place at the table, by this time, though not not honoured, familiar,and is more integrated to the conversation, the idea of democracy has taken hold, with everyone havingan equal, and even a vociferous, say

Brahms modelled his Clarinet Quintet,on Mozart’s, the Classical structure is still the same, movements, tonality, musical recurrence, all to wonderful effect

that he would do that is not a given, but a tribute to the power of that form, take the waltz for instance, alive from even before Strauss, not to mention Chopin, to approximately the middle of the Twentieth Century

think about it, who waltzes anymore,though they might’ve enchanted still, residually, the 50’s – see Patti Page, for instance –its lustre having dissipated, with the wind, as it were, the gust, before us,of the unending ages